x cent^ ^Y(<^ /a! c- 'fat cry AS Clock Case. (Pierced and Carved Metal.) Frontispiece. Sec page go PRACTICAL ENGRAVING ON METAL, INCLUDING HINTS ON Saw-Piercing, Carving, Inlaying, &c:, G. A. BANNER. “ On any surface ot metal the object of the engraver is, or ought to be, to cover it with lovely lines forming a lace-work and including a variety of spaces delicious to the eye.” — Ruskin. SECOND EDITION. Jttmbmt : HAMPTON & Co., 12 & 13, Cursitor Street, E.C. THE GETTY CENTER LIBRARY CONTENTS. Chapter Page I| — Introduction ...... 9 A short history of Engraving and Engravers, with a description of the various processes. II;— Gold and Silver Engraving . . .29 Engraving for surface decoration. Descrip- tion of tools, and how to use them. III. — Lettering and Inscribing ... 52 Lettering. Engraving Inscriptions on Gold, Silver, Brass, etc. IV. — Crests, Monograms and Cyphers . . 6r Heraldic Engraving. Outlines of Heraldry. Monograms and Cyphers. Saw Piercing and Metal Carving. Description of Tools and Appliances. Metal Inlaying on Wood, etc. V. — Gun Engraving 92 Description of Tools, Styles of Ornament, etc. VI — Copper-Plate Engraving, Stencil Cut- ting, and Dry Point Etching . . 99 VII. — Etching on Copper 107 Tools and Materials. VIII. — Various Appliances used in connection with Engraving . . . . . 117 Appendix . . . , . . . .123 Index . . . . . . . . .127 PREFACE. J N this book the reader will find the outcome of the practical experience of the author, whose aim in compiling this work has been to make it an elementary book of instruction in this delicate and interesting art, rather than the im- parting of information to the expert. The success of the First Edition, which sold out within eighteen months of publication, is sufficient justification for bringing out the present issue. Our thanks are due to those who favoured us with suggestions for the improvement of this book, which have been carried out as far as possible without interfering with the scope and character of the work. K r ■ PRACTICAL ENGRAVING. CHAPTER I. INTRO D UCTION. HE art of engraving on metal is one of the oldest arts in existence, and is first made mention of in the Scriptures. This art, which consists in the execution of designs by incision upon plates of metal, such as gold, silver, copper, steel, etc., either for surface decoration of the metal or for the purpose of printing — although in this latter sense of the term, the art is only coeval with that of printing — has been practised, with the more limited object, from the earliest periods on record, in a similar manner and with similar instruments to those used at the present day. That an art so abundantly capable of helping in the diffusion of all kinds of knowledge should have been extensively practised from the earliest periods of man’s existence, without its applicability to print- ing being discovered, is so curious that it would be a mistake to omit giving a slight sketch of its early history. B IO PRACTICAL ENGRAVING. In the writings of Moses we find somewhat detailed accounts of the character of the engraved works exe- cuted in his time, and of the substances on which they were wrought. Nor are we left in ignorance even of the names of the artists or engravers among the Israelites. In the Book of Exodus we learn that when Moses had liberated the Israelites from Egyptian bondage, he was commanded to make a plate of pure gold, and grave upon it, like the engraving of signets, “ Holiness to the Lord.” This distinctly shows that the Israelites possessed a knowledge of, and practised the art of, engraving on metal. This knowledge, together with that of other arts, was, without doubt, acquired by them during their captivity in Egypt. In Exodus also honourable mention is made of one, Bezaleel, who appears to have united the callings of the en- graver, the jeweller, and the lapidary, and it is said that he was filled with wisdom of heart to work all manner of work with the graver, as well as to devise cunning works ; to work in gold and in silver and in brass, and it was put into his heart that both he and Ahaliab might teach them that were filled with wisdom to work all manner of work with the graver. From Herodotus we learn that one of the earliest uses to which engraving was applied among the Greeks was the delineation of maps upon metal plates. He says that Aristagoras appeared before the King of Sparta holding in his hand a tablet of brass, on which was inscribed every part of the INTROD UCTION . I habitable world, the seas and the rivers ; and to this he pointed as he spoke of the several countries between the Ionian Sea and Susa. The date of this event was 500 B.C. The hieroglyphics and other remains of Egyptian engravings are amongst the most ancient relics now extant ; and our own British Museum is particularly rich in specimens of them. Some of these are en- graved on metal, and have been found, for the most part, in the coffins of mummies. Mr. Strutt, in his “ Dictionary, of Engravers/' describes one of them very minutely. Fig. 1. — Ancient Brass Stamp in the British Museum, one of the oldest specimens of engraving in existence. The letters are cut into the metal. These engravings were evidently executed with similar instruments to those now in use, the lines showing that they were cut with the lozenge graver now chiefly used ; but other lines, being of the same width throughout, with that species of graver called a scooper, scorper, or scalloper, which are its modern names ; this instrument still being used for cutting broad lines. This points to a curious fact: — that with all these years of improvement and invention, the engraver b 2 2 PRACTICAL ENGRAVING. of to-day uses the very same tools as did his fore- fathers in the days of Moses. The state of engraving in our own country previous to the Conquest must not be overlooked. Our knowledge of it is chiefly derived from such things as buckles, clasps, rings, and military accoutrements. Under the protection of that good and excellent monarch, Alfred the Great, the arts began to manifest Fig. 2. — Alfred the Great’s Jewel. themselves in a marked degree. The works of the Anglo-Saxon goldsmiths, who were the chief en- gravers of that day, were held in the highest estima- INTROD tier ION. 13 tion, and there is yet preserved in the Ashmolean Museum at Oxford a very valuable jewel, made by command of Alfred, which was one of the few treasures that he took with him when he retreated to the Isle of Athelney, where it was found. This jewel is battledoor shape, the obverse being faced with an oval plate of rock-crystal, through which is seen a miniature formed of enamelled mosaic, the compartments being let into cells of gold. The figure (supposed to be that of St. Cuthbert) is hold- ing a fleur-de-lys in each hand. The reverse is a detached plate of gold (lying immediately on the back of the miniature) on which is elegantly traced a fleur-de-lys, branching into three stems. The edge is bevelled towards the front, and contains the legend : “ Aelfred mec heht gewyrean.” The gem terminates in a grotesque figure, representing on the obverse side the head of some sea-monster, and on the re- verse, the lower jaw is wanting, its place being supplied by a scaly flat surface. Among the earliest uses to which engraving was put was the execution of inscriptions on monumental brasses. Mr. Henry Shaw, in his book on Mediaeval Alpha- bets, says: “ At what period effigies and inscriptions were first engraved on plates of brass as memorials to the departed, seems involved in doubt.,; The earliest specimen now known is that of Sir John D’Aubernoun, of the date 1277, in the church of Stoke Dabernon, in Surrey. Till lately it was partly 14 PRACTICAL ENGRAVING . hidden by the altar rails, but it is now fully disclosed. These brasses are of the highest possible interest, as showing the skill of our ancestors in the art of en- graving on metal centuries before printing seems to have been thought of; and more particularly as furnishing some of the most satisfactory authorities which have descended to us of the character and various changes of civil, military, and ecclesiastical costumes, from the date above named till they ceased to be employed. They also supply us with some of the most simple and graceful examples for in- scriptions in every kind of material when colour is either inadmissible, or can only be employed in flat tints. We will now begin by mentioning the various kinds of engraving, and the different uses to which they are put. Brass, silver, and gold were evidently the first metals to be used for the purpose of making images, ornaments, etc. And these metals seem to have held their own for a long time ; until at length copper- plate and wood engraving for printing were dis- covered Copper-plate engraving, for the illustration of books, was practised in England with great success, as also was wood engraving, which latter is now almost a lost art owing to the advance made in photographic reproduction. Among the first copper-plate engravers of any note were William Faithorne (1616 — 1691), and David INTRODUCTION. 15 Fig. 3. — Memorial Brass of Sire Tohan D’Aubernoun. 1277. INTR OD UCTION. 1 7 Loggan (about 1630), both Englishmen and resident in London. Another famous engraver was William Blake (1757 — 1827). Wilmot Buxton, M.A., in his book on English painters, says of this man: “Though born in no higher grade than that of trade, and no more romantic spot than that of Broad Street, Golden Square, William Blake, a hosier’s son, was a poet, a painter, an engraver, and even a printer ; his genius was of an original and eccentric kind. During his long life he was a dreamer of dreams and a poetic visionary, and he fancied that his dead brother had revealed to him a new process for drawing on copper, which he practised with great success.” In 1796 he designed and engraved six plates to illustrate tales for children by Mary Woolstoncraft, and, later, illus- trated his Book of Job, Dante’s “ Inferno,” Young’s “Night Thoughts,” and Blair’s “Grave,” all of which contain excellent specimens of his work. It must be remembered, as giving additional inter- est to this subject, that it is to a certain class of engravers that we are immediately indebted for the first printed books, which were actually impressed from engraved wooden blocks, a method which was- after- wards improved by substituting movable metal type. The earliest print with a date attached to it is one known as “ St. Christopher,” and is from a wood block dated 1423. The art of engraving on metal plates for printing was, according to Vasari, first practised by Maso, or Thomaso Finneguerra, a Florentine goldsmith, 1 8 PR A CTICAL ENGRA VTNG \ about the year 1460. And although many writers, have advocated the claims of Germany to the honour of the invention, it seems now to be conceded by universal consent to Italy. Haydn’s “ Dictionary of Dates ” says — “ prints from engraved copper-plates first made their appearance about 1450, and, strange to say, came from Germany.”- However, be that as it may, we must give the Ger- mans credit for the rapid strides they made towards excellence in the mechanical part of engraving. That the art of engraving for printing had its origin in the workshops of the goldsmiths about the middle of the fifteenth century is quite evident, as many of these goldsmiths were workers in niello — a mode of ornamental engraving usually executed on silver plates in the following manner : — The design,, after being engraved on the plate, was filled in with a black composition composed of silver, lead, copper, sulphur and borax, which from its dark colour was called nigellum, a name afterwards curtailed by the Italians into niello. Now, Maso Finneguerra was a worker in niello,, and, according to Vasari, his discovery of the art of printing from engraved plates was the result of an accident. It was usual with the niello workers to rub a mixture of charcoal and oil into the design en- graved on the plate, so as to ascertain the effect before filling it in with the nigellum. It is said that on one occasion Finneguerra having rubbed in the charcoal and oil, accidently let fall upon it some INTRODUCTION. 19 Fig. 4. — Panel in Niello. INTROD UCTION. 21 melted sulphur, which upon removal brought with it the ink out of the hollows and exhibited an exact impression of the work, and thus we got the art of printing. William Young Ottley, F.S.A., in his history of engraving, gives the following account of the process of working in niello as employed by Finneguerra: — “ During the fifteenth century a species of handicraft was much practised by the goldsmiths throughout Italy, especially in Florence, termed working in niello. This mode of workmanship, which fell into neglect in the sixteenth century, was used in the decoration of plate destined for sacred purposes, such as chalices, reliquaries, and paxes ; also on the hilts of swords, the handles of knives and forks, and on clasps, and other female ornaments. It was likewise frequently adopted for small cabinets made of ebony, which were here and there ornamented with little statues of silver and plates of the same metal, worked in niello with figures, with historical representations, or with arabesques. The method of producing works in niello, which are no other than designs hatched or painted upon silver as we paint or hatch delicately with a pen, was discovered by the goldsmiths in the times of the ancients, for there are to be seen hollows cut with instruments of iron, and filled with some kind of composition, in their works of gold and silver.” The method of making works of this kind is first to design the intended subject with a point of steel 22 PRACTICAL ENGRAVING. upon the silver, which must be of an even and smooth surface, and then to engrave it with the burin or graver, nicely sharpened. When engraved and finished with the burin, take a mixture of silver, lead, copper, sulphur and borax, and by mixing them on the fire make a composition which is of a black colour, and very brittle when cold, but which when melted is of such a nature as to run with great nicety into the work. The composition is then bruised or ground very fine, and sprinkled upon the engraved plate of silver, which should be very clean. The plate is then placed near a fire of green wood, when by means of a pair of bellows the flame is blown upon the niello, which, being dissolved by the heat, runs about until it has filled all the engraved work. Afterwards, when the silver is cold, the superfluous composition is scraped off or ground down by degrees with pumice stone; and lastly the work is rubbed with the hand, or a piece of leather, until the true surface appears, and everything is polished. Chief among the early Italian engravers may be mentioned Agostino Carrocci, Stephano della Bella, and Marc Antonio, who died about 1527. In Germany, at the commencement of the six- teenth century, appeared Albrecht Diirer, a man whose universality of talent extended to the boun- daries of every department, and carried all he under- took to a degree of perfection previously unknown. Albrecht Diirer had great command of the graver, and brought his plates to a much higher degree of INTRODUCTION. 23 finish than that attained by his Italian contemporaries, as his print of St. Jerome in the Room, the execution of which has never been excelled, will sufficiently attest. To his other honours, we have little hesita- tion in adding that of his being the inventor of engraving by corrosion. Mezzotint engraving, a peculiar mode of engraving upon copper for the purpose of printing, essentially differs from every other method. The surface of the plate is first indented or hacked all over by the action of an instrument something like a chisel with a toothed edge, called a cradle or a grounder. This tool, being rocked to and fro across the plate in every direction, indents or roughens the surface so as to enable it to hold the printing ink. If a print were taken from the plate at this stage, the result would be a perfectly black impression. This being done, the work of the artist now com- mences, and with the aid of a scraper and burnisher he scrapes and burnishes the ground from the plate wherever he wants the white parts of his picture to be, for the more he scrapes away the ground the less ink will reach it, and so he builds up his picture, putting in the lights only instead of putting in the shadows, as in ordinary engraving. The discovery of this art has been the subject of much controversy. The account commonly given is that Prince Rupert one morning observing a soldier cleaning from his musket the rust which the night dew had occa- 24 PRACTICAL EJVGRAV/JVG. sioned, and perceiving upon it, as he thought, some resemblance to a figure, it occurred to him that by corroding or grounding a plate all over in a similar manner to the rust, he might be able to scrape away a design upon it, from which he could print. The merit of the discovery has been claimed, by some authors, for Sir Christopher Wren, on the ground of a communication which he made to the Royal Society in 1662, the journals of which society in that year record that Doctor Wren presented some cuts done by himself in this way. Previous to setting up the claim for Sir Chris- topher Wren, one would have thought that an ordinary spirit of research would have led his biographer to consult the works engraved in mezzo- tint by Prince Rupert, which are not numerous, and, we believe, do not exceed twelve in number. He would then have found that the Prince’s principal work (the Decollation of St. John the Baptist, after a design by Spagnaletto) bears the date 1658, which is four years earlier than Sir Christopher Wren’s communication to the Royal Society. In 1662, the year in which Sir Christopher Wren made this communication, the Royal Society received its charter of incorporation (the society being founded two years previously) ; and in the same year the celebrated John Evelyn (who was nominated by the King one of the original members, and of the coun- cil) published his “ Sculptura,” in which appears the IN TROD UCTION. 25 first announcement of the new art — in England, at least ; and he distinctly claims the honour of the invention for Prince Rupert in a chapter on “ The new method of engraving, or mezzotinto, invented and communicated by His Highness Prince Rupert, Count Palatine of the Rhine, etc.” He embellishes the chapter with a specimen from the Prince’s own hand, and concludes it by alluding to an account of the process, which he is “ preparing to be preserved in the archives of the Royal Society ” ; and, as we have already seen, Prince Rupert’s most capital performance actually bears date four years earlier: so that there is no pretext for giving the invention to Sir Christopher Wren on the ground of anything which he produced, or any communication which he may have made in 1662. But while we have thus shown that the pretensions of Prince Rupert completely superseded those of Sir Christopher Wren, it remains for us to prove that those of Prince Rupert himself are invalid, and that he was guilty of an act of meanness in imposing upon John Evelyn to the extent of allowing a man of his high character to impose, in turn, however unconsciously, upon the world, by claiming for Prince Rupert the honour of an invention to which the Prince well knew he had no title. The real inventor of this art, was, as far as we can learn, Ludwig Von Siegen, a lieutenant-colonel in the service of the Landgrave of Hesse-Cassel from whom Prince Rupert learned the secret when in c 26 PRACTICAL ENGRAVING. Holland, and brought it with him when he came to England. Some curious and very rare prints in the British Museum enable us to place the claims of Von Siegen beyond doubt. Among these there is a curious work by Von Siegen, a portrait of the Queen of Bohemia, the date of which is 1643. The difference between copper-plate engraving and wood engraving is this : — In copper-plate engraving the design is cut into the metal in sunk lines, while in wood engraving it is cut in relief or raised lines. The advantages of wood engraving over copper are that the wood- cuts may be printed along with the type, being in relief, while the copper-plate requires to be printed separately ; hence the reason for prints from a copper-plate in a book being frequently printed on a different quality paper to that on which the text is printed. Copper-plate engraving is chiefly used nowadays for printing bank notes, letter headings, visiting and business cards, and other work of a like nature ; but type, lithography, and the photo-mechanical processes have now almost completely superseded this art. Copper-plate engraving is also largely used in the printing of calico, and also for printing the designs on china and earthenware. Calico eng/aving is chiefly done with an engraving machine called a pantograph, which brings the engraving down to the level of a mechanical process. INTRODUCTION. 27 Brass engraving, such as that on door plates, memorial tablets, etc., being heavy work, is often done with a chisel and hammer or mallet, similar to those which a stone carver uses. But this kind of work is now mostly produced by means of a routing machine, which cuts the letters cleaner, deeper, and quicker than can be done by hand, and some firms do this class of work by photo etching. Brass engraving is very heavy compared to the cutting of silver, gold, or copper ; but it has some compensation in giving good scope for artistic display. Some of the old brasses are regular works of art, which for variety and tasteful design and boldness of execution far surpass many a one done at the present day. Engraving on silver, such as is applied to jewellery and electro-plate, from being one of the best branches from a pecuniary point of view, is now otherwise, owing to the competition that has sprung up, which has tended to destroy the artistic quality of the work. Another kind of engraving is gun engraving. Who has not noticed the beautiful, filigree and scroll work on the locks and barrels of guns and rifles ; the beautiful ornamentation winding in and out like the branches in a forest, with here and there an open space through which you can get a peep at a lovely little bit of landscape, with perhaps a few wild-fowl or some sporting dogs in the foreground ; or perhaps a sportsman just in the act of firing at some hares which are coursing across the common ? These and many c 2 28 PRACTICAL ENGRAVING. other scenes, beautiful in their truthful simplicity, make this indeed what it is justly called — a fine and beautiful art. Among the different forms of engraving for printing from, may be mentioned mezzotint and aquatint (so called from its resemblance to a water-colour draw- ing), and lastly steel engraving. As this book is intended to deal more especially with engraving for surface decoration and not for printing, we will give but a brief description of the latter processes. GOLD AND SIL VER ENGRA V1NG. 29 CHAPTER II. GOLD AND SILVER ENGRAVING. Engraving on gold and silver articles as a means of decoration is the oldest form of engraving known. When we look in the windows of any of the large silversmiths’ shops, we see before us examples of this beautiful art applied as a means of ornamenting the greater number of the articles there. Silver tea sets, coffee sets, waiters and trays, brooches, watches, lockets, cigar and cigarette cases, and a host of other articles too numerous to mention ; all are ornamented by the engraver’s skill. The art of engraving, being such a delicate process, is naturally very tedious, as the work is all done by hand with small sharp instruments, called gravers; and from this fact it must not be confused with chas- ing, which is done with hammer and punches. The tools, or gravers, may be procured from any dealer in watchmakers’ tools and materials, at moderate prices. These gravers are made of the finest steel pro- curable, and vary in size and shape according to the various purposes for which they are required, as will be seen from the illustrations on page 31. The gravers when bought require .. to be put into 30 PRACTICAL ENGRAVING . handles and sharpened. Handles similar to the one shown in the illustration (Fig. 5) are most suitable. The graver should be fixed in the handle and then a section of the latter should be cut off, as shown in Fig. 5. This is to allow the graver to lie more flatly than it would otherwise do, and it will be found to cut better this way. The graver being fixed in the handle, the next thing to do is to sharpen it ; to do this you will require a sett stone. The best for this purpose are called Turkey stones, and cost from six to ten shil- lings each, and while in use must never be kept without oil, the stone improving in quality as the oil gets soaked into it. Take care to get a slightly hard stone, as a soft one is almost useless. Fig 5. — Egg-shaped Handle, with section cut off. Now we will explain how to whet or sharpen the tools. The graver being fixed in the handle with the two polished sides in line with the cut off section of the handle, it is now ready for sharpening. Place one of the polished sides on the stone, raising the handle slightly and keeping the point firm on the stone with the fingers of the left hand ; then rub until a facet is produced. Repeat on opposite side, until GOLD AND SIL VER ENGRA VING. 31 m Fig. 6. — Square Graver. Fig. 7. — Lozenge Graver. N \ Fig. 8. — Scolloper. Fig. 9. — Bent Graver. Fig. 10. — Scriber. Fig. 11. — Burnisher. Fig. 12. — Scraper. GOLD AND SILVER EJVGRAVIJVG. 33 the two facets run together, as shown in Fig. 13, taking care that the ridge in the centre is in a line with the ridge along the shank of the graver. Next rub down the back, keeping it at its original angle, leaning the graver slightly from you as you do this ; this makes the tool cut better. The graver is tested during sharpening by dabbing the point lightly on the thumb nail where it should catch slightly. Fig 13. — Method of Sharpening Graver. The scollopers are sharpened in a similar manner to the gravers, with the exception that after sharpen- ing they have the sharp edge on the front, where the two sides of the belly meet, rubbed off so as to make them cut a broad line. Different widths of scollopers can be made accord- ing to the width you rub the face. This is the way to sharpen the lozenge scollopers ; but the broad Fig. 14. — Scolloper. scollopers, being flat on the sides, do not need a belly, but are just sharpened on the front and back. The spotter, or dot tool (a similar tool to Fig. 8, only having a round face), is very useful for making spots, or “beads.” It is simply sharpened on the 34 PRACTICAL ENGRAVING. back, and is improved by being slightly bent. These may also be made from a square graver, by rounding the front of the belly very carefully on the stone, and then polishing on a buff. The threader, or stitch tool, is also improved by being slightly bent, and should be sharpened at a slightly more acute angle than the graver. The tools being sharpened, the next thing required is a set of sand bags (Fig. 1 5). These consist of round pads of leather, filled with fine, dry sand, or whitening, and vary in size from about two or three inches to six or seven inches in diameter. Whitening is preferable for filling these bags as it does not Fig 15.— Sand Bag. scratch the silver should it leak through any holes which may appear in the bag when it gets worn, and if a little plaster-of-Paris is added, it makes the whitening firmer, which is a great advantage when the bag is of a large size. Sand bags are generally made of sheep skin, and should be stuffed as tight as possible, otherwise they will only cause trouble and annoyance. GOLD AND SIL VER ENGRA VING. 3 5 The object of the sand bag is to raise the work up, so as to prevent the engraver from stooping while sitting at his work, and it also facilitates the handling of the work much better than if it were on a table or desk. A pair of spring dividers (Fig. 16) will be found to be indispensable for making circles, curves, dividing and measuring distances, etc. An eyeglass (Fig. 17) is very useful when the workman is engaged upon minute and delicate work. Fig. 18 shows an eyeglass and stand combined. Fig. 17. — Eyeglass. To be a good engraver, it is needless to say, you 3<5 PRACTICAL ENGRAVING. should have some artistic ability and a knowledge of drawing; for if you cannot draw you will never make much of an engraver, since the whole success of engraving, whether on wood, metal or stone, depends upon the subject being correctly drawn Therefore anyone who has the intention of learning engraving should commence by studying drawing. The next thing to learn is how to use the various tools, and to know what may be done with them. Fig. 18. — Eyeglass and Stand. The rest is just a matter of time and study. The graver is the principal tool, and more can be done with it than with all the rest put together. With this tool all kinds of work can be executed, such as monograms, crests, cyphers, inscriptions, ornamental work, etc.- — in fact, every kind of engraving — the GOLD AND SIL VER ENGRA VING. 37 other tools being, as it were, accessories with which to get effect in ornament cheaply and quickly. A good way to become accustomed to the use of the tools is to get a piece of metal (sheet zinc or copper will do) and practise on it with the various tools. Fig. 19. — Method of Holding the Graver. The graver is held in the hand in the same way as you would hold an awl, the thumb resting on the plate to act as a guide, and it is also a great help in the prevention of slipping. Do not dig the point of the graver into the metal, but try to hold it in such a manner that it will just glide along under the surface. The further you turn the graver to the right-hand side, the broader is the line it will cut. This is the way flanging is done, the belly being previously polished by rubbing on a rouge buff An excellent buff can be made by pasting a piece of rouge paper on to a block of wood. Cutting with the scollopers can be done in two ways, viz., either by plain cutting or wriggling. The latter process consists in moving the scolloper quickly from side to side as it is pushed along, 38 PRACTICAL ENGRAVING. taking care not to push too hard, as the wriggling motion carries the tool along to a certain degree ; this makes what is known as a wriggled line, which is very effective, especially in ornament Wriggling with the threading tool is also very effective as a quick and ready means of making a matt ground, which is sometimes wanted in ornamental work. The threader (a flat tool having a number of fine threads running along its face) is very useful for shading and for making hair, and affords an excellent means of representing trees and grass when executing views or landscapes. These tools may be had in several different widths and various numbers of threads. They can also be had straight or curved, the latter being the best. The threader, or stitch tool, always affords a ready means of shading for cheap work, where the effect is wanted quickly. To use the graver, hold the handle in the hollow of the hand, and extend the forefinger towards the point, resting it on the back of the graver, taking care that your fingers do not interpose between the plate and the graver. Let the graver slide along the plate, trusting to the resistance of the metal for its steadiness. Delicacy of feeling is a prime quality in a good engraver. No better lesson on engraving can be had than to study something which is already engraved and try your best to imitate it. This will help you on better than all the theory in existence. GOLD AND SIL VER ENGRA VING. 39 Let the table or board you work at be firm and steady, and when cutting circular strokes hold the graver firm, moving your hand or the plate, or both, as you see (or, rather, feel) convenient Learn to carry your hand with such dexterity that you may end the stroke as finely as you began it ; and if you have occasion to make one part deeper or blacker than the other, do it by re-entering the cut or by cross hatching. Bent gravers are very useful for doing certain classes of work, such as the interior of hollow vessels, where it would be impossible to work with a straight one. For example, supposing that an engraver gets a silver cake basket to engrave, and after having drawn on the inside the design he wishes to engrave, takes a straight graver, it will be found that, owing to the small size of the space, he cannot work, on account of the graver handle catching on the sides of the vessel. Now, the remedy for this is a bent graver (Fig. 9), which enables the handle to be kept away from the edge, and so helps him out of the difficulty. These gravers may be bought bent, or the worker may bend them himself in the following manner : — First, take the temper out of the metal by heating the graver in a flame to a cherry red, and allowing it to cool slowly; next hold the graver in a pair of pliers, and bend into shape by hammering on the two sides of the back alternately, until it is the required shape, when it should be hardened. To harden the graver, heat it as before to a cherry red, and then plunge into cold water or oil, after 40 PRACTICAL ENGRAVING. which it may be tempered by heating to a light straw colour and again immersed. Some engravers recom- mend plunging the heated graver into sealing-wax. Great care should be taken in the tempering of the gravers, as they are very often spoilt in the operation. Sometimes the graver takes a fit and won’t cut, no matter how you coax it. When this happens, the best thing that can be done is to lay it down and give it a rest, as it is simply tired. This may be thought curious, but when an explanation is given it will be quite readily understood. The steel of which the graver is made consists of a quantity of very minute mineral particles, separate in themselves, but of a high degree of cohesiveness. The explanation usually given is that these particles, owing to the constant strain to which they are subjected while the graver is in use, get moved slightly out of place, and so blunt the cutting point. When this happens, the only thing to do is to lay the tool aside for a time, when it will gradually return to its normal condition. This fact is well known to wood-workers as well as to metal-workers. Before commencing to engrave, the design must first of all be drawn. Now, there are two ways in which this may be done. In the first place, let it be understood that the worker cannot start and draw upon the metal with the steel-point (commonly called an etching-point or scriber, Fig. 10) right off, but he must sketch the design with a pencil or some similar object. GOLD AND SIL VER ENGRA VING. 4 1 Before using the pencil the surface of the metal must first be prepared, as a pencil will not grip upon the polished surface. To do this, the surface is covered with a grounding of gum gamboge in the following manner: — Make a small dabber of cloth filled with cotton wadding, and having rubbed it with moistened gamboge, dab over the metal, and the result, upon drying, will be a nice dead, even yellow surface, upon which the design can be easily drawn. Having completed the design with the pencil, it must now be marked out on the metal through the ground with the steel-point, and then the ground may be cleaned off, leaving the design ready for engraving, and not liable to get rubbed off during the process The other method is to cover the surface of the metal with grease dabbed on in a similar manner to the gamboge, and then with a tuft of cotton wadding dust over this surface with fine chalk or whitening; then with an ivory or wood point the design may be drawn freely upon the article, without fear of scratch- ing. Next trace it in with the etching-point, clean the ground off, and it is ready for engraving. This method of drawing on is used in all kinds of silver engraving, whether ornament or lettering. We will now give a few hints on the uses of the tools used in ornamenting the various articles manu- factured in gold and silver, either in jewellery or plate. The dot tool is useful for making a border on any round object, such as a brooch or coin. Around the edge of the coin is cut alternately a wriggled line and D 42 PRACTICAL ENGRAVING. a line with a dotter, close together ; thus making a bright and effective border, and, as it is easily and quickly done, it has its advantages, a simple border being very often required. The tooth border, which is cut with the dot tool and graver, is very effective, and is a good border for putting round the shoulders of a ring. It is nearly all mill Fig. 20. — Tooth Border. straight cutting, and, as it is often almost impossible to cut any other way in confined places like these, it comes in very useful for this kind of work. A waved line wriggled with a scolloper on either side of a straight line, the spots being made with a dot tool, forms a very effective edging, thus — Fig. 21. Here is another very effective border which is put upon most kinds of electro-plate, especially round a salver or a teapot. Fig. 22. GOLD AND SIL VER ENGRA VING. 43 The two twisted lines are wriggled with ra broad scolloper, and the central shaded portionsTire cut out with a dot tool. When a bold plucky design is required on silver, it is best obtained by a simple design, having the back- ground matted, and leaving the pattern standing out in relief and highly burnished. Other kinds of ornament will suggest themselves, for one pattern is generally a modification of another. Among the various kinds of ornament applied to silver and gold engraving, we find that those which are based upon geometrical design are still very popular. A good border is the Greek scroll, com- Fig. 23. — Greek Border. monly called the key scroll, from its having the appearance of the slits or holes pierced in the end of a key. For borders round silver tea or coffee sets this one, although rather ancient, still holds its own. Floral designs are also very popular, but require very careful treatment, and for effect depend solely upon the tools with which they are done; thus, when doing ferns — take the maidenhair to commence with — the leaves should be done with the threader, plain cut, not wriggled, and then the edges and stems should be cut up with a bright graver. We will take next a common fern. In this case a different effect is wanted, so instead of the d 2 44 PRACTICAL ENGRAVING. threader a scolloper is used, and the leaves wrig- gled up. Reeds or grass are best suggested by straight cut- ting with the threader, finishing the edges with the graver, always remembering to keep the gravers and scollopers polished. A few words on matting will be useful. A matt ground on any surface is not very difficult, and it may be done with a graver, a threader, or a chaser’s mat- ting punch. We will begin with the graver, by means of which tool a matt ground may be done in various ways. The ground may be cut in small lines like basket work, as shown in Fig. 24 ; it may be cut in small Fig. 24. — Basket Work. dots running into each other ; or it may be cut in small lines crossing each other. With the threader we have just to wriggle over the surface in every possible direction until a fine matt ground results. The threader and matting punch give the softest grounds. The matting punch is also very good, but can only be used where you have solid metal strong enough to resist the hammer, and which can be fixed upon cement. GOLD AND SIL VER ENGRA VING. 45 Fig. 25. — Fern Leaf. Fig. 26.— Design for Small Card Tray or Salver. STYLES OF ORNAMENT FOR SILVER ENGRAVING. GOLD AND SIL VER ENGRA VING. 4 7 A few words upon printing, and then we are done. When making monograms or crests it often happens that more than one of the same kind have to be done. When this is the case, the best way is to outline one and then print the others from it, by means of print- ing ink, which may be either copper-plate ink, or a very good substitute made by mixing rouge and tallow together ; the latter being much cheaper than printing ink. To take a print, dip the tip of the finger in the ink and rub it well into the engraved lines ; then clean it off the surface with a piece of clean tissue paper, taking care not to rub the ink out of the lines. Next get a piece of writing paper — the rough kind is the best, as it takes the ink much better than that with a highly finished surface. Cut a piece of paper a little larger than the monogram you wish to print, and having wet one side, the same as you would a postage stamp, stick it on the top of the engraving ; next place another piece of paper on the top of this, and then proceed to rub with the burnisher, taking care that the paper does not move, or else the print will be spoiled. To tell when the print is done, the corner may be lifted from time to time, taking care not to let the paper slip. Having secured the print, it should be trimmed of its rough edges and then printed down before it gets dry, or else you will have some difficulty in trans- ferring the design. However, should the print by any chance become dry it may be remedied by first 48‘ PRACTICAL ENGRAVING . rubbing the surface of the plate with some liquid gamboge, which, when it dries, affords a splendid surface for taking on the ink. Another way is to smear the back of the print with ink and then trace over the design, the ink being transferred on to the plate only where the point comes over it As the latter method reverses the print, it cannot be used in every case; but it is very handy at times when a reverse is wanted, which is often the case when engaged on monograms, and saves both time and labour, which is a consideration. It is a common practice when making a monogram, the two sides of which are even, as for example the letters A M, to draw one half and then print the other from it. The burnisher used for taking the prints with may be an old one, but for burnishing on metal a good one is required,- free from scratches, and to keep it in order it should be polished daily on a buff, which can be made by glueing a piece of buff leather on to a block of wood. Rouge paper may be also used for this purpose. This buff may also be used for polishing the graver when cutting an ornamental piece of work with a bright flanging to it. Ornamental engravers usually do all their flanging with a carving tool ; that is a broad square tool sharpened liked a chisel and highly polished. This tool is better adapted for the purpose, but is more difficult to use than the graver. Still, it is the best that can be used when cutting thin metal, as it will not cut through so readily as the graver. In GOLD AND SIL VER ENGRA VING. 49 Fig. 30. — Dahlia Border. Fig. 29. — Twist Border. STYLES OF BORDERS FOR SILVER ENGRAVING. Fig. 28. — Egyptian Border. Fig. 27. — Scroll Borders.. GOLD AND SIL VER ENGRA VING. 5 1 doing any ornament which has a shaded background — that is, the background cut out with a threading tool or stitch — it is best to proceed as follows: — Draw the design and point it in, as already described, then cut the background ; next cut all the flanged lines, and then finish with the graver or whatever other tools you may require. Always keep the tools well sharpened and polished for ornamental work, as the effect all depends upon the amount of bright cutting that can be put upon the article. All ornament in which re- peats occur should be printed down after engraving the first portion, as it will save a lot of time that would be spent in drawing. Another good plan is always to keep to mechanical means or methods in drawing rather than free-hand, as the most important thing in engraving is to have your work properly drawn and uniform. Always remember the old adage — “ Measure and mark, or you will work in the dark.” •52 PRACTICAL ENGRAVING. CHAPTER III. LETTERING AND INSCRIBING. Next to Heraldic engraving, lettering is the most difficult to do. The reason is obvious. If a piece of ornament is out of shape, the majority of people will overlook it; but if a letter is off the straight or in- correctly cut, it can be detected instantly. The styles of lettering most popular in engraving are — Roman, Italic, Egyptian, or block, script (commonly known as copper-plate), Old English, and Gothic. Lettering may be either cut with the graver or scolloper, or both. For quick work, where cheap- ness is the main thing, it is best to cut the thick lines with the scolloper, and the hair strokes with the graver or square, finishing off the tops and bottoms of the letters by a triangular cut with the graver. To do this, place the graver point at the top right hand corner of the letter, and take a cut out, which will give it a neat and finished appear- ance. But where good bold and high-class work is required, the letters are best cut entirely with the graver ; this is generally done by cutting several fine lines together till the required thickness is ob- tained. This style of cutting may be imitated by cutting with the threading tool. LETTERING AND INSCRIBING 53 Roman. ABCDEFGHIJKLMNOPQRS abcdefghijklmnopqrstuvwxyz Italic. ABCDEFGHIJKLMNOPQR abcdefghijklmnopqrstuvwxyz Egyptian. ABCDEFGHIJKLMNOPQRSTUVW abcdefghijklmnopqrstuvwxy Engrossing. @ e © <§ a & o al e ^ i j Jc / m n o r 6 f Script. &/<& W M a if e <&1R abcbefgbijklmnopqrstuvw Fig. 31. — Styles of Lettering. LETTERING AND INSCRIBING. 55 When cutting an inscription, begin by sketching it on the metal with a pencil so as to get the letters properly spaced, and when this is done it should be drawn in carefully with the point ; the next thing is to cut all the perpendicular body strokes, and then the horizontal ones, finishing with the hair lines ; in this manner the letters are kept more even than if cut separately. When en- graving script, or writing characters, it is a very good plan, after the sketching, to rule lines like those shown in Fig. 32, which act as guides to keep the letters all the same slope, this being the great secret of good writing. When engraving block letters, 0 and S should be made slightly larger than the rest, because they always appear smaller than they actually are. Lettering may also be cut entirely with the graver, by means of a couple of flanges run into each other. This style is very effective, and is quicker than cutting with a scolloper. A small steel rule is very useful for measuring with when lettering, or a bit of printer’s reglet can be used. 56 PRACTICAL ENGRAVING. When engraving an inscription, great care should be spent on the flourishes or ornamentation — that is the fine hair strokes run in and about the words — otherwise the whole effect may be hopelessly spoilt by the injudicious treatment of these lines. Particu- lar attention should be paid to getting the flourishes even, and the lines must not be too thick, and there must be no broken backs on them. Good examples of flourishes may often be seen on the covers of pieces of music, especially old pieces that were done in the days when they were printed from engraved plates ; but nowadays these covers are mostly printed from type, or lithographed, and the consequence is that the flourishes which once adorned the pages are now supplanted by the usual cut and dried article common to printers. The great secret of success in flourishing is to know just how much to do — or when to stop ; for too much is worse than too little. There is a happy medium, which you no doubt will arrive at with practice ; but a great many never know when to stop. When cutting an inscription it is a common thing to make mistakes in the spelling, or to have a word wrong, & c. These errors may look rather alarming at the time, but are not so formidable after all, as there is an easy way out of the difficulty. For in- stance, suppose that, on looking over the work, it is found the letter E has been cut instead of an A, or some similar mistake, proceed as follows : — Find the exact position on the back of the plate of ^JrLL__faEY y A~M~ES €£lTE Y~ by m^ciimLRznA mm *TTN"~i ~h f mrc a K~m n~ -( > h ~n 1 s - ~T7TA K W. I A ( i.~ET~ First Stage {Sketched). ^^sEirTE^ -U-Z- ^HZ2Z Lm/ma i, // / /an UN >JdJz — UtlAMON ()h H Hs JAJiRIAHEI_ Second Stage [Body Strokes Cut). Third Stage [Finished). Fig. 33. — How to Engrave an Inscription. LETTERING AND INSCRIBING. 59 the letter to be altered by means of a pair of dividers •or compasses ; then knock up the metal from the back with a punch, which will raise the letter above the surface, when it may be filed out, leaving the space clear and flush with the rest of the plate, when the new letter may be inserted. In brass engraving, where the letters are intended to hold wax, as in door plates, &c., the method em- ployed is as follows : — The inscription or lettering is first of all drawn on the plate with ink, as it shows better on big work. This being done, some engravers start and cnip or cut it out with a chisel similar to that shown in the sketch (Fig. 34). This is all very well for a practised hand, but for the novice the better plan is to outline the letters with a graver, whet at an acute angle, so as to cut a deep Fig. 34. — Brass Chisel, Length 6 Inches. and narrow line, squaring the corners up by re-cutting in opposite directions. The interior of the letter is then taken out with a chisel ; if not very wide it may be done with one cut, but if of any great width it will require two or more cuts, side by side. When outlining, slightly undercut the letters, as it helps to hold the wax it is intended to fill them with. When cutting rounded parts of letters, this should be done by a series of small cuts, the edges being E 2 6o PRACTICAL ENGRAVING. smoothed with the graver where necessary ; this also applies to small work done with the scolloper. The plate being engraved, the next thing is to fill it in. This is usually done with sealing-wax, which can be bought in almost any colour, specially made for the purpose, but brass plates are now often filled in with a mixture of sulphur and lead which wears better than wax. Heat the plate all over by holding it in a hand vice over a gas jet till it is so hot that when the wax is rubbed on it will melt and run into the engraving. After the plate has been allowed to cool, and when the wax is set, the surface should be cleansed by rubbing with pumice stone and water ; then water of Ayr stone ; and finally polishing with paste. Finally the plate should be gently heated on the back so as to slightly melt the wax, which will brighten up the letters, and give them a more finished appearance. The following diagram will explain a Fig. 35- simple and easy method of drawing and spacing large letters by means of a series of guide lines ; it is so simple that it needs no explanation. For specimens and styles of lettering the following books may be consulted : Henry Shaw’s book of “ Mediaeval Alphabets.” Owen Jones’ “ Illuminated Alphabets.” Vere Foster’s Copy Book, No. io, containing the alphabet in thirty-three different styles. (Blackie and Sons, publishers). CRESTS , MONOGRAMS , ^vVZ) CYPHERS. 6l CHAPTER IV. CRESTS , MONOGRAMS , CYPHERS . BEFORE commencing to engrave such subjects as crests or coats of arms, it is advisable that the learner should know something of the principles of this art- science. The origin of Heraldry, in the first and most com- monly understood sense, has been attributed, by the general consent of all rational writers on the subject, to the necessity for distinguishing, by some outward and visible sign, amidst the confusion of battle, the principal leaders during the expedition for the re- covery of the Holy Land. But nothing is absolutely known concerning it, beyond the fact that the middle of the twelfth century is the earliest period to which the bearing of Heraldic devices can be traced. However, it is not intended to give a complete history of Heraldry here, but just to mention a few of the principal points and facts. For further information on the subject consult the works of Edmonson, Nisbett, and Berry ; all reliable authorities. According to authorities there are ten classes of arms — viz., arms of Dominion, Pretension, Com- 62 PRACTICAL ENGRAVING. munity, Assumption, Patronage, Succession, Alliance,. Adoption, Concession, and Paternal and Hereditary. These various sorts of arms are displayed on shields or escutcheons, the ground of which is called the field, and the figures upon it the ordinaries and charges. The shield or escutcheon contains certain points or locations, viz. : A B cl D I E j \G H 3 1 Fig. 36. The chief A being the dexter or right-hand chief ; B, the precise middle chief ; and G, the sinister or left- hand chief ; D is the honour point ; E, the fesse- point, being the centre of the shield ; F, the nombril or navel point ; G, H, and I, the dexter, middle, and sinister base points. The colours of the escutcheon are : Red, the Heraldic name of which is Gules. Blue, ditto ditto Azure. Black, ditto ditto Sable. Green, ditto ditto Vert. Purple, ditto ditto Purpure. Yellow or • Gold, ditto Or. White or Silver, ditto Argent. These colours and metals have, since the sixteenth century, been represented in engravings by lines and CRESTS , MONOGRAMS AND CYPHERS. 65 dots, the ingenious idea of an Italian named Petra- sancta. Thus : Gold is represented by dots ; Silver, by the shield being white ; Red, by perpendicular lines ; Blue, by horizontal lines ; Purple, by diagonal lines, from left to right ; Green, by similar lines, from right to left ; Black, by vertical and horizontal lines crossed ; Tenne or Orange, perpendicular lines crossing diagonal lines from left to right ; Sanguine or Murray, transverse lines from each side of shield. There are also nine roundels or balls used in heral- dry, the names and colours of which are : Bezants, gold ; Plates, silver ; Jarteaux, red; Hurts, blue ; Pomme, green ; Galpes, purple ; Pellets, black ; Oranges, Tenne, and Gauzes, sanguine. It may also be well to mention the furs, which, according to some heralds, are of ten different sorts. Those most commonly met with are, however, com- prised under the names of Rrmine and Vair ; the rest being variations of colour and disposition. The first is represented by the field being white, and the spots and tails black. Ermines — the field Sable, the spots and tails Argent. Erminais — the field Or, the spots Sable. Vair is represented by cups ranged thus — the field Argent, the cups Azure. 66 PRACTICAL ENGRAVING . Erminites — the same as Ermine, with the addition of a red hair on each side of the black tails. Vair en Point is when the point of one cup or bell is opposite to the base of another. Counter-Vair, when bells of the same colour are placed base to base and point to point. Pean — the field Sable, the spots and tails Or. Potent is classed as a fur, but the word signifies a crutch. Potent Counter-Potent is when the crutches are placed as shown. As mentioned before, it is not intended to give a complete description of heraldry, but to simply men- tion the parts which are most needful for the engraver to know, viz., the colours, metals, and furs.* The next subject to be dealt with is monograms. On turning to the encyclopaedia we find the follow- ing description : — “ Monogram : A cypher or character formed by an interlacing of letters, intended as an abbreviation of a name, for- merly much used. Monograms are of a very ancient date. They are not uncommon upon Greek coins, especially those of Macedonia and Sicily. They likewise occur upon the coins of the Seleucidae and are found upon many of the family coins of Rome, though not upon those of the Roman Emperors till a late period. The monogram of Jesus * For specimens of heraldry and crests, Knight and Butter’s “Crests” and Fairbairn’s “Crests” may be taken as standard works. £ Fig. 39. CRESTS, MONOGRAMS , AND CYPHERS. 6/ Fig 40. — Heraldic Designs. CRESTS , MONOGRAMS , ^iVZ) CYPHERS. 69 Christ upon the coins of Constantine the Great is well known. It was continued frequently by his successors, even as low down as Alexander Comnenus and Theodorus Lascaris, and was also placed at one period upon the Roman labarum. Bartsch, in his ‘ Le Peintre Graveur,’ has given tables of the monograms used by the German and Italian engravers. The French artists rarely used monograms. The most extensive information, however, on this class of mono- grams will be found in the last edition of Brulliot’s ‘ Dictionnaire des Monogrammes, Marques Figurees, Lettres Initiales, Noms Abreges, &c.’ Another good and reliable authority is to be found in Le Blanc’s ‘Traite Historique des Monnoges de France.’ ” There is also a book called “ Commercial Mono- grams,” published, we believe, in Germany, which contains some of the finest specimens of monograms to be seen anywhere. If the worker cannot design his own monograms or cyphers, he will find the books mentioned a great help, as therein are to be found every combination of letters that are likely to be required. There is no need of going into the subject of en- graving names, as it is all plain cutting, and a far better idea of the subject may be obtained by looking at the examples referred to than by all the instruc- tions in the world, as the illustrations in these books, being printed from engravings on jcopper, show the method of cutting ; but, of course, monograms for 70 PRACTICAL ENGRAVING. surface decoration require to be cut much bolder than if they were only for printing. The same advice is also applicable to the engraving of crests and arms; but a more effective way is to pierce and carve them. This is one of the most beau- tiful branches of the art, and is used to a great extent in the manufacture of jewellery. In this branch the Japanese excel all other nations, and for minuteness in saw piercing they have few rivals. Mr. E. Gilbert- son, writing in the Studio about Japanese Chasing and Chasers, says : “The great skill of the Japanese chasers, and the perfection of their damascening and inlaying of various metals on iron and bronze is familiar to all who have examined a collection of sword guards and sword furniture. It seems almost to have escaped notice that they were equally skilful in their treatment of iron, and that the artistic results were sometimes more remarkable than when they were dealing with the softer metals. This neglect or lack of appreciation occasionally arises from the belief that the works are castings, and we sometimes read of the tsubas or guards as being made of steel.” But our greatest authority on sword guards — Pro- fessor Church — has told us that they are not of steel, CRESTS, MONOGRAMS, AND CYPHERS. Fig. 42. — Carved Metal Frame. CRESTS , MONOGRAMS AND CYPHERS. 73 but of iron, usually of extraordinary purity (as near purity, in fact, as manufactured iron is ever found), and the metal is so carefully and skilfully forged that although it rings like a bell it can easily be cut, and Fig 43. — Fret Saw. some tsubas may be described with a fair approach to truth as carvings in iron, rather than chasings. Professor Church refers to the saw piercing of the Japanese in the following interesting quotation : — “ Saw work was likewise introduced in the form of very conventional silhouettes of animals, etc., and of designs executed in saw cut lines. This, however, was carried to the greatest perfection in the seventeenth century, the lines being so fine and so perfectly true Fig. 44.— Archimedian Drill. that one wonders what kind of a drill they could have used to pierce the first hole for the saw, without F 74 PRACTICAL ENGRAVING. leaving a trace of it ; on one guard about an eighth of an inch thick the saw line was found to be only one eight-hundredth of an inch in width.” We will now give a description of the work as it is done in England at the present day, beginning with a list of the tools required, which are : — A fret saw, Fig. 45. — Needle Files. jeweller’s drill, chaser’s punches, needle files, and hammer ; also the half ball and cement as used by chasers. To carve a monogram or crest, first of all get a piece of metal the requisite size, and if the monogram is an inch or more in diameter ; the thickness of the Fig. 46. — Hammers. CRESTS, MONOGRAMS AJVD CYPHERS. 75 F 2 CRESTS , MONOGRAMS , CYPHERS. 77 metal should be what is known as eight thick ; then draw on and outline the mono with the graver in the usual manner, the metal having been previously planished and slightly polished. The next thing is to drill or punch holes to allow for the saw piercing. If the metal is not over eight thick the holes may be - — ^======^===^ FiG.^48. — Hole Punch. punched, but if thicker they should be drilled. To make the holes you will require a punch the same as shown in illustration, and a flat cake of lead about three inches square and half an inch thick. Lay the I I □ Q A (shapes) 12 3 4. 5 Fig. 49.— Sizes of Saw Blades. 78 PRACTICAL ENGRA VING. monogram, face up, on this, and then punch the holes wherever it is required to get the saw through. Next turn the monogram over, laying it face down, when it will be seen that the punch has bruised up the metal at the back ; this can be remedied by re-entering the punch and knocking the bur down from the back. Then start and pierce. A saw frame and an assort- ment of saws will be required. The saw blades are made in two different qualities, about five different shapes, and twelve different sizes. The accompanying sketch (Fig. 49) will explain the different sizes and shapes. Those saws having round backs (Shape 4) are the best, as they can be turned about easier in the metal. Fig. 50. — Detail of Piercing Board. For the benefit of those who have never seen a fret saw used, we give a few instructions. We will begin with the bench, which' should have a piece of wood about six inches by three inches nailed on and projecting over the front, as shown in the accompanying illustration (Fig. 50) ; this is where the CRESTS , MONOGRAMS , CYPHERS. 79 CRESTS , MONOGRAMS, AND CYPHERS. 8l metal is held when piercing, and it greatly facilitates the work. Next select the saw. A blade about No. i will do. Insert the blade, with the teeth pointing towards the operator, in the end of the saw frame, the latter being pressed against the bench and the handle against the body. Press on it till the frame bends slightly and keep it bent until the blade is in. The reason for doing this is to get the blade stretched as tight as possible. Then fasten the far end firmly. Next slip on the mono, passing the saw through one of the holes in the centre, the back of the mono being towards the operator. Then fasten the near end of the blade, release the pressure, and the saw blade will be nice and tight, with the mono on ready for piercing. Let the seat upon which the worker sits be of such a height as will bring his chin at about three inches above the level of the table, as the work can always be done better when the operator is seated low. Always begin by piercing out the centre first and the outside last, which gives the greatest strength of metal all the time and so prevents breaking or bend- ing the work. The monogram being pierced, now commence to carve. First of ail, fix the metal on a block of wood. There are two ways this may be done : one is by soldering pins on the back, and the other is to punch holes in the monogram at the four corners, and then fasten it down with small nails. As this is the sim- plest way, we will adopt it. The nails should be 82 PRACTICAL ENGRAVING. driven halfway in, the heads cut off with cutting nippers, and then the nails driven home. The mono must now be polished, which is best done on a buff fixed on a lathe head, as shewn in the accompanying illustration (Fig. 52). There should be three buffs or mops — viz., one for rouge, one for tripoli, and one felt buff for tripoli also. The first polishing is done with the felt and tripoli, then the mono is carved and then polished with the rouge. Now, in carving a mono there are three different ways of doing it ; or, more properly speaking, three different amounts of work or finish which can be put Fig. 52. — Polishing Buff. upon it. These are known as half carved, flat carved, and raised. Half carved consists of flanging up the right-hand side of the letters, and only putting a graver line round the other. For flat carving both sides are flanged, while in raised carving both sides are flanged, and where one letter is supposed to run CRESTS , MONOGRAMS, AND CYPHERS . 83 Fig. 53. — Carved Monograms, with Inlaid Initial in Ebony. CRESTS , MONOGRAMS, AND CYPHERS. 85 behind another, the metal is cut down to give it such an appearance. Now, we will suppose that a monogram H. B. has been pierced, fixed on a block, and polished ready for carving. The first thing to do is to cut the overs and Fig. 54- unders, which is done with a knife tool (see chapter on silver engraving), so as to get as deep and narrow a line as possible, when the mono will present an Fig. 55. 86 PRACTICAL ENGRAVING . appearance somewhat similar to Fig. 54. Now take the carving tool and cut down the surface of the letters where they go under, as mentioned above. Don’t be afraid to cut a good lot of the metal away, as it will look all the better for it. Then flange up the edges all round with nice smooth cuts, the carving tool being kept polished while working ; then run a fine graver line round the top edge of the flange to make it nice and sharp, and to give it a finish. The next thing is to put a colour on the principal letter, when it will be finished, and present an appearance like Fig. 55. It is then polished with the rouge, washed out with boiling water, soap, and soda, dried out in hot sawdust, and wiped up with a fine chamois leather, when it will stand forth in all its beauty. Now as to the carving of crests. This is a subject upon which it is very difficult to write, as it is more a matter of practice than theory. However, those desirous of trying this work could not do better than start by modelling the subject in wax, after which they may start to carve. The tools used for crest work differ greatly, most carvers making their own tools as the subject suggests. A great many chaser’s punches are used, and it is practically a matter of faking to attain the desired result. Wired cyphers and writing names are done in the following manner : — After outlining, piercing, and fixing on the block, they have the edges all bevelled with the carving tool in the usual manner, and the overs and unders cut as well. They are then sub- CRESTS, MONOGRAMS, AND CYPHERS. 87 Fig. 56. — Carved Monograms, &c. CRESTS, MONOGRAMS, AND CYPHERS. 89 jected to a severe polishing on the lathe with a stiff bristle brush, using a lubricant of oil and pumice powder, which rounds the letters up nicely, giving them the appearance of being made from wire ; next give the design an application of the grease mop, and then finally rouge. Carved work of this description is used for decorat- ing all manner of articles at the present day — such as toilet brushes, purses and pocket books, tobacco pouches, and a host of other things. We now rome to inlaid metal work — that is mono- grams, crests, etc., inlaid in wood or ivory, such as hair brushes, snuff boxes, trinket boxes, and the like. Proceed as follows : Get a piece of silver (the thicker the better for this work), outline the mono or whatever it be, and then take a print from it on paper as already described in a previous chapter. This print is to be printed down on the wood or ivory on the exact spot where it is intended to inlay, and be careful to get it down nice and sharp. This gives the exact outline of the space to be cut out to receive the mono, and must be scooped out with a scolloper and graver, taking great care not to break the edges, as there is no remedy for such an accident. When the wood or ivory is cut the requisite depth, the monogram should be roughened on the back either by wriggling with a scolloper or several heavy cuts with a graver. It is then given a good coating of fish glue (Le-Page’s) on the back, and G 90 PRACTICAL ENGRAVING. pressed into place, when it should be allowed about an hour to set. The next thing is to polish the whole surface — ivory and silver, or ivory and ebony, or whatever it be that is to be inlaid— which may be done by first rubbing with a piece of fine glass paper, finishing on the lathe ; if ivory, using, instead of tripoli, oil and chalk ; but if ebony, tripoli may be used. When the surface has been thoroughly polished it should be finished with the graver in the usual manner. So much for the finest class of work. Should it be desired to make a beginning upon some larger and therefore easier work, we will take as an example an ornamental clock in pierced and carved brass, which the writer made some time ago (see Frontispiece). It is entirely constructed out of sheet brass fixed upon a mahogany support. It is only fair to state that this clock case was copied from a design by Walter Crane. The figures of the man and horse, together with the scythes and circle, are made out of one piece of metal. The design was first outlined with the graver, and then pierced about a sixteenth of an inch on the out- side of the line to allow for the various parts becoming narrower, with the doming or hammering up from the back (this precaution should always be taken when it is intended doming anything up). The next thing was to round the edges of the bodies of man and horse with a file ; a small spade file is best adapted for this purpose. When the bodies of the man and horse were filed up into shape they were polished in CRESTS MONOGRAMS, AND CYPHERS . 9 1 the usual manner, and then the wings of the horse were finished ; this was done by wriggling them up with a very broad scolloper, which is the simplest and best way to suggest feathers, while the horse’s tail was finished by cutting with a very coarse threading tool. The figure reclining below was finished in a similar manner and soldered on the base ; as also were the two panels at either side, the thickness of the brass being eight thick, the buttresses at the corners being pierced out of somewhat thicker brass so as to give them a solid appearance. The four corners of the base were made from brass tube, and the leaves at the top from sheet brass pierced and carved. This is a good subject for a beginner to try his apprentice hand upon before commencing the more delicate work on silver. For a beginner attempting crest work, a good plan is to model the crest first in wax and then afterwards carve from this, taking it as a copy. g 2 92 PRACTICAL ENGRAVING. CHAPTER V. GUN ENGRAVING. Gun engraving — that is the ornamentation of firearms by means of engraving — is but a step forward from the old practice of engraving armour. Of course, the manufacture of armour is now a thing of the past, save for the cuirasses still worn by the Horse Guards. But the engravers, not to be done, have turned their attention to the ornamentation of firearms, and now most sporting guns and pistols are elaborately orna- mented, yet, strange to say, the old styles of ornament or patterns have remained almost the same to this day, and consist chiefly of scroll and floral designs. Fig. 57. — Graver for Steel. Some engravers introduce little panels with sporting scenes — such as fox and stag hunting, grouse and partridge shooting, duck shooting, rabbit shooting, etc. GUN ENGRA VING. 93 The engraving is done in a similar manner to that for silver, but the material being steel is so much harder to cut than silver that it necessitates the use of special tools. For this purpose, special gravers are made, tapering from the hilt downwards with a view to strength, and ending in an extremely fine point (see Fig. 57). They are sharpened with a very steep belly, as a flat one would not stand any length of Fig. 58— Wooden Clamp. time, for when the belly is steep the point is less likely to break ; they are also much improved by being slightly turned up. Before commencing to engrave, the steel has to be softened, which is usually done by heating on a charcoal fire and then allowing the metal to cool slowly. The tools required are similar to those used for silver engraving, and are as follows : — Burnisher, eye- glass, rule, dividers, scriber or point gravers, scolloper (or scorper), dot tool and threader. The designs are usually drawn on the steel with pencil and point, the same as on silver, except in the case of factories where they have stock designs, which are often cut in copper 94 PRACTICAL ENGRAVING. plates, from which transfers are taken to lay on the guns ; this method saves the men much labour, and ensures the work being more accurate. The way gun engravers generally work is to stand at a vice in which the work is held with a pair of wooden jaws; others, again, hold them in a pair of wooden clamps like that shown in Fig. 58, which they hold against a piece of wood projecting from the bench, as illustrated in Fig. 59, the top of the clamp fitting into the hollow end of the wood. Greater freedom is obtained by working this way than when the work is held in the vice. It is impossible to get effect with bold cutting and flanging as with silver, the steel being so hard that it can only be cut very slightly. Effect has to be obtained in another way. The gun engraver, knowing this, resorts to patterns of a bold and open character, such as scroll and floral GUN ENGRA VING 95 Fig. 6o. — Gun-lock Showing Engraving. GUN ENGRA VING. 97 designs, backed by a heavy matted ground ; this ground is put in, not with a matting punch, but with a punch having a single point similar to a scriber, which makes a beautiful heavy ground that throws up the ornament to a wonderful extent. During the process of engraving, the arras or burr which arises in the cutting is rubbed off with a piece of copper kept specially for the purpose; this is better than rubbing with a burnisher, as it does not scratch the steel. In addition to the ordinary hand engraving Fig. 6i. — Etched Iron Door Handle. I tools, some gun engravers work with chisel and mallet on the steel in a similar manner to a brass engraver. Great speed is obtained in this way, but not the best quality of work, as will be readily understood. In addition to hand engraving on guns the patterns are sometimes etched on with acid. This process of etch- ing on iron used to be very popular as a means of decorating iron work, but has now almost died out. A splendid example of this work may be seen in the • 98 PRACTICAL ENGRAVING. Museum of National Antiquities, Stuttgart, consisting of a door handle of very elegant and chaste design (Fig. 6 1 ), which was made about the sixteenth cen- tury. Other specimens of this work may be seen on old swords, armour, etc. To prevent the formation of rust during the process of engraving, the steel is rubbed over with vaseline, which protects it from damp. COPPER-PLATE ENGRAVING, ETC. 99 CHAPTER VI. COPPERPLATE ENGRAVING , STENCIL CUTTING , AND DRY POINT ETCHING. As this book is written more for the purpose of treat- ing of ornamental engraving as applied to surface decoration and not engraving for printing (as pre- viously stated), we will deal but briefly with the subject of copper-plate engraving and stencil cutting. Copper-plate engraving (of which we gave a short account in a preceding chapter) is done in a similar manner to silver engraving, the tools being the same, only sharpened in a different manner. The gravers are of different shapes, square and lozenge, and several of each should be provided. The square are used in cutting the broad strokes ; the lozenge for the finer and more delicate parts. The gravers are sharpened with just the shadow of a belly on them, so as to cut a fine line not too deep. As this engraving is meant for printing from, it must be done the reverse way — the same as type — considerable skill being required to do this. Copper-plate engravers always use a mirror to examine their work with, as this makes it appear the right way about. The usual way to begin is to draw the design or subject upon paper with a lead IOO PRACTICAL ENGRAVING. pencil, to give the copper-plate a thin coating of white paraffin wax or gum gamboge, and then to rub down the design with the burnisher. The wax will retain the drawing made with the pencil, which will be found to be the reverse way. Then scratch in the design. The following instructions from the “ Artist’s Re- pository ” will be useful in studying copper-plate engraving : — “ Let the table or board you work at be firm and steady ; for straight strokes let the plate lie flat on the table ; for circular or crooked strokes place the plate on the sand bag. In the course of the work scrape off the barb or roughness which arises with a scraper, but in doing this be careful not to scratch the plate ; never scrape directly across a line, but always at an easy angle along the course of the stroke. When you wish to examine the work you have done rub it with the oil rubber, which, by filling the strokes with black, will show them where the plate is wiped to advantage ; too much oil rubbing injures the finer work as does (very materially) too much scraping.” It is evident that any line drawn may be crossed by another line, or any number of lines may be crossed by a second number of lines. But it is equally evident that not every such crossing can be graceful ; if the lines follow too nearly the course of the original ones they will form at the intersections a number of areas of too sharp and disagreeable lozenge shapes ; if the first lines are crossed at right angles the areas formed will be so many squares, which, by possessing a kind COPPER PLATE ENG.RA VING, ETC. IOI COPPER-PLATE ENGRAVING, ETC . 103 of hardness in their appearance, apply only to certain subjects. The medium admits an infinity of degrees. If we examine any large well executed print we observe in some places — (1) single lines or strokes of considerable length according to the drawing ; (2) lines crossed at an agreeable lozenge; (3) lines crossed at right angles where a kind of obscurity is wanted ; (4) two lozenge lines crossed with a third, usually much softer and tender than the two former, but following or rather attending their course ; (5) lines at right ang!es, crossed by a third at a lozenge to divest the squares of their hardness and stiffness ; (6) lines at a considerable distance from each other and of a firm colour with a thin line between them, this is called interlining ; (7) the same sometimes crossed in the same manner ; (8) round dots in the flesh ; (9) long dots for the same purpose ; (10) long dots some- times crossing each other; (11) thin lines crossing lines of dots ; (12) very thin lines made by the dry point in the lights, &c., and many other contrivances for producing variety. These, applied according to the indication of the design or to the taste and skill of the artist, impart to the prints a richness and character which no other manner of engraving can boast of, and which is further augmented by a judi- cious introduction and mixture of etching, engraving and dry point lines. The “ dry point ” is so termed because used without a ground, and is consequently not bitten. The burr, or barb, rising from the copper is very strong and must be scraped off very carefully. 104 PRACTICAL ENGRAVING. This only applies to cases where dry-point etching is used in combination with engraving or etching. When the whole plate is done in dry point, the barb is left to hold the ink. i Fig. 63. — Lines and Dots used in Shading. The whole point with its handle is stronger than an etching point, to enable it to sustain greater pressure when in use. Fig. 64. — Etching Point. To attain considerable excellence in this kind of engraving is no easy matter, and, indeed, of the many COPPER-PLA TE ENGRA VING, ETC . I O 5 who are brought up to it few reach the top of the tree ; or if they attain skill in one branch (etching, for instance), they fail in others. Yet, as much of the progress, even of the best of plates, is little more than Fig. 65. — Burnisher. a combination of mechanism and patience, abilities of all degrees are useful in the course of a long work. Dry poinf etching or engraving is a beautiful pro- cess, and is more adapted for artistic work than copper-plate engraving, the lines being freer. In dry point work the lines, instead of being cut, are scratched on the plate with a fine steel point, capable of making a sharp and deep scratch, which readily holds the ink for printing. The result with this process cannot be equalled for delicacy of feeling and for reproducing atmospheric effects. It is also specially suited for landscape work. Stencils are cut out of sheet copper and zinc, the thickness of the metal depending on the size of Fig. 66.— Scraper. the stencil. The designs or letters are drawn upon the metal, leaving the usual cross bars to support the centres, and are then cut out by hand with an ordi- H io6 PRACTICAL ENGRAVING. nary graver. Another way is to saw them out with a fret saw, the same as used for piercing, while they are sometimes burnt out with acid. Roman capitals lend themselves best to stencil work, so that they should invariably be used ; the reason being that the supports for the centres of the Fig. 67. — Stopping Out Brush. letters can be brought through the thin strokes with- out showing so much as when going through the thick stroke of a block letter. When cutting stencils, an important feature is not to have any corners on the centre parts, otherwise the brush is liable to catch in them, tearing the metal, and thus spoiling the stencil. ETCHING ON COPPER. 107 CHAPTER VII. ETCHING ON COPPER. This is one branch in the art of engraving, and possesses some qualities in which it is superior to others ; being executed with the utmost ease and Fig. 68. — Bath. freedom, and, when well managed, expressing many subjects with great truth and character. To prepare for etching lay a ground over the plate, which operation is thus performed : — At the most Fig. 69. — Hand Vice. convenient part of the plate is tightly fixed a hand vice ; then the plate is heated till the copper shows a h 2 io8 PRACTICAL ENGRAVING. slight change of colour or till the back part of the plate, being spit upon, rejects the spittle. The ball of ground, which is tied in a thin covering of silk, is then passed gently over the plate so as to distribute the ground evenly to all parts, the heat of the plate Fig. 70. — Dabber. melting it through the silk. Finally, with the dabber (which is nothing more than a small quantity of cotton wool tied up in silk, with a round piece of cardboard on the top to keep it in shape), the ground is beaten or dabbed, until a perfectly uniform surface is the result. In this part of the operation much care Fig. 71. — Heating Table. is required, since, if the ground is unevenly laid, or thicker in one part than another, it will prove decep- tive when being drawn upon. It is a great help to ETCHING ON COPPER , 109 72. — Reproduction from Copper-plate Etching. ETCHING ON COPPER. 1 1 1 have the ground smoked till it is thoroughly blackened, which will enable the operator to draw with greater facility. A wax taper twisted together four or five times is the best thing to do this with, but a candle will serve quite well for this purpose. The plate must be perfectly clean and free from grease ; as greasy spots, &c., prevent the ground from holding in these parts. To clean the plate, scrape a little whiting on to it, and wipe it off with a clean rag, which will bring away the grease. While the plate is cooling, and after the ground is laid, scrape some red chalk on the back of the print, tracing, or drawing, and rub it all over with a clean rag ; then place the reddened side on the plate, making it fast at the corners with I 12 PRACTICAL ENGRAVING. soft wax. Lay the etching board under your hand, to prevent bruising the ground, and with a blunt etching - needle lightly trace the outlines and the breadths of the shadows, till the marks of them appear on the ground ; but care must be taken not to penetrate the paper by tracing too heavily. It will be advisable at intervals to lift up a corner of the tracing, and to examine whether every part be perfectly traced before it is taken off ; if the paper is once removed, it will be found to be extremely difficult to lay it down again exactly in its former position. Having completed the tracing, the off track (or drawing traced) is removed, and the subject is ready for etching. The practice of etching is easily attained by pro- * ficients in design, since it is little more than drawing with a point on a plate, what is otherwise drawn with a pen, pencil, etc., on paper. The etching board (by some termed a bridge) is a thin piece of board, generally of mahogany, of a proper length and width, raised by small supports at each end, to a convenient height for the hand to rest upon. ETCHING ON COPPER . 1 13 The points, or needles, are almost similar to sewing needles, but are stronger, and are inserted into handles four or five inches long, for the convenience of being properly held. The best way to begin a subject is by forming the outlines very carefully, then inserting the shadows, beginning first in the darkest places. Lines drawn in etching may be crossed by others, if wanted. Two lines drawn very close together will unite under the operation of biting^, whereby this line will become of great breadth and colour. This process is very useful for dark foregrounds in landscapes, and has a good effect in architecture, etc., but the use of etching in historical subjects is chiefly to prepare the figures to be afterwards treated by the graver. The characteristics of etching are — a certain roughness (compared with the productions of the graver) which does not suit glossy or shining objects ; but it can be used with good results for the coarser parts — such as, in landscape, the barks of trees, the broken and looser touches of foregrounds, etc. In architecture it represents very happily the ravages of time in old buildings, mouldering walls, etc. Another characteristic of etching is its freedom ; for which reason it suits well the leaves of trees, light clouds, etc. And beside the uses mentioned above it is of great service where a true, even, and uniform colour is wanted, as it is not only much quicker, but also more certain than simple graving in general; hence it suits the blue parts of skies the even tints of (new) PRACTICAL ENGRAVING. 1 14 architecture, backgrounds to portraits, etc., which are constructed by means of a parallel ruler. It is evident from the services required that the points to be used must vary in their fineness, some lines being very broad, others very thin. To whet a point with perfect truth, free from angular projections, etc., requires time, patience, and practice. The plate being etched, the next process is to ex- cavate the lines drawn, by subjecting them to the action of aqua-fortis, which operation is called biting. First, examine the work carefully to see that nothing has been omitted, or anything redundant. If any scratches appear on the ground, or any mistakes be committed in the etching, they are to be stopped out or corrected, which is done by covering them with a mixture of lamp black and varnish, laid on with a pencil, which, when dry, will resist the aqua-fortis ; but it is sometimes best to stop out these as they occur in the course of the work, for by this means they will be less liable to escape notice among the multiplicity of other lines and parts ; and when the varnish is dry you may etch over it if necessary* The next thing is to paint the back of the plate with Brunswick black to prevent the acid touching it. When this is dry, place the plate in the bath and pour on the acid. Having poured the aqua-fortis on the plate, let it continue a short time corroding the lines drawn. Wipe off the bubbles, as they rise, with a feather- otherwise they are likely to remain on the plate ETCHING ON COPPER. 1 1 5 during the rocking. After a proper interval (about ten minutes) pour off the aqua-fortis, and wash the plate carefully with pure water, pouring it on and off ; then let the plate dry, and by scraping off part of the ground from the faintest part of the work, see if it be sufficiently bitten ; if so these parts should be stopped out, which is done by painting the place with fine Brunswick black varnish. Allow it to dry and then bite the stronger parts, stopping them as occasion requires, till the whole work is sufficiently bitten. Then warm the plate till the ground is melted, pour on a little oil, and wipe the whole off with a linen rag. When the ground is taken off rub the work well with the oil-rubber, and wipe the plate clean; then proceed to finish with the graver those parts of the subject which require that process. It is necessary to emphasize the fact that in biting a plate much attention is required. If a plate be under-bitten — i.e., if the parts have not attained their proper colour and force — the only remedy is to go over every line with the graver in order to blacken them. On the other hand, if the plate has been very much over-bitten it cannot be rendered neat and delicate (let ever so much time and skill be wasted over it). However, if bitten but little above the colour wanted, a few strokes of the burnisher will lower it a sufficient measure. If the gas, rising from the copper and forming bubbles, hisses very much in biting it will be found that the aqua-fortis (nitric acid) is too strong, or acts too quickly on the copper, which PRACTICAL ENGRAVING. 1 1 6 for tender work is very injurious. In this case the acid should be immediately washed off, and some diluted acid used. To dilute the acid you may use either water or acetic acid, the water of course making it the weaker. If the acid is full strength, add one- third water. It is the best way always to begin with the acid weak, and work up the strength as found necessary. VARIOUS APPLIANCES. 117 CHAPTER VIII. VARIOUS APPLIANCES USED IN CON- NECTION WITH ENGRAVING. As we have described the various kinds of engraving, we will now give a description of the appliances used in connection with the different processes. One of the most useful things an engraver can have is a pair of clamps, of which there are various kinds ; the commonest variety consists of two blocks of wood with a screw running through them, and two wire rods as guides on either side, as shown in the illustra- tion (Fig. 75). On the top a round plate, split in two is fastened, one half on each block ; through these PRACTICAL ENGRAVING. IT 8 plates holes are drilled, in which fit small brass pegs or pins for the purpose of gripping an innumerable number of small articles, such as coins, trinkets, brooches, etc. The number of different articles which can be held in this clamp is surprising. These clamps cannot be bought, and are, therefore, usually made by the en- gravers themselves. The popular size is generally about four inches long by two and a half inches wide, while the screw is six inches long. The brass rods for guides are driven firmly into the one half, and come through holes in the other half, which slides along them. Another very useful clamp for holding watch domes and coins consists of a block of wood about three inches square, on the top of which are three brass prongs or studs, having their points bent slightly inwards ; two of these are fixtures, while the third can slide back, but is kept in position by a strong spring let into the block below the surface. This movable prong is drawn back to admit the coin, and when released it comes up and grips the coin, which is then held firmly between the three prongs. VARIOUS APPLIANCES. I 19 The next thing to be described is perhaps the most useful article of all and is called an engraver’s chuck (Fig 77). This is an American invention, and is alto- gether a most unique affair. The base (which with Fig. 77. — Patent Chuck. the upper portion is made entirely of iron and gun metal) is in the shape of half a ball, and works in a wooden stand on the ball and socket principle. The Fig. 78. — Coin Clamp. object of this is to get the work canted on a slope, so as to catch the light. The top portion moves round 120 PRACTICAL ENGRAVING. on a pivot, which is attached to the base, and runs right up the centre. On the top are the jaws in the form of two half circles, worked by a right and left handed screw, which draws them in or out as desired. These jaws have a series of holes in which to put wire pins of different shapes and sizes, to hold the various articles it is intended to work upon. There is also an attachment for holding studs, spoons, etc. This clamp combines the advantages of all the other clamps in one, which is a great convenience. Ring sticks, on which to put rings, are also another very useful article. They are of wood, about seven Ihjjji lIHliiMiiHiiHHUimiiiHiimniifiKuni11 mmi1 111111 1,11 f f| 11 1,1,1 11 1,1 111,11 111 1|11-1^ Fig. 79. — Ring Stick. inches long, tapering from one end to the other, so as to hold rings of different sizes while being engraved. These ring sticks may be had in various sizes, so as to hold finger rings, stick or umbrella bands, pipe mounts, etc. Some things are too thin and delicate to be held in clamps, and have therefore to be stuck on cement. This cement, which is a mixture of pitch, resin, and whitening, can be bought very cheap from any dealer in tools and materials ; in appearance it looks very much like brown sealing-wax. It is readily softened by heat, and the articles can then be easily stuck on, when they will be held quite firm enough to engrave. VARIOUS APPLIANCES. 121 The engraver’s globe, which at one time was much used by engravers, consists of a glass globe filled with water to act as a lens in concentrating the light into one spot, has been superseded by glass lenses, which are not so cumbersome and are less liable to break. Another very useful thing is a screen, consisting of a light wooden frame covered with tissue paper. to shield off the direct rays of the sun, as the strong reflection from the surface of polished metal is very injurious to the eyes. Gaslight or other artificial light should also be shielded in this way, but a globe made of ground glass fitted over the light will be found to be the best screen it is possible to have. Copper-plate engravers do not as a rule shade their i 122 PRACTICAL ENGRAVING . light, but use the engraver’s globe, which we have just alluded to. It consists, as will be seen from the illus- tration (Fig. 80), of a round globe of glass filled with water. But the condensers or bulls-eye lenses are handier, as they take up less room. APPENDIX . 23 APPENDIX. To Clean Copper Plates. Copper plates, when received from the makers, are usually very badly tarnished, and should be carefully cleaned. The method generally adopted is to rub them with a pad of prepared cotton wool, and a cream of double-washed whiting. The latter is broken up in a cup, and some diluted ammonia (about 2 per cent.) is added to form a thick paste. Care should be taken to see that the ammonia is not too strong, otherwise the plate will remain tarnished. The latter should be rubbed in circles to agree with the polish- ing. Hardening Copper Plates after Engraving. After being engraved, plates are hardened on a turning lathe in the following manner : — Procure a piece of hard wood, such as beech or ash, fix it in a chuck and turn up the face true ; then turn out a circular recess in the board, sufficiently large to admit the plate and deep enough for the latter to be just below its surface, then square up the corners of the copper plate so that it will fit in neatly and firmly. Next mix up some of the best plaster of Paris and pour into the mould thus made ; then insert the" plate, face down, and allow to set, taking care that no 124 PRACTICAL ENGRAVING. plaster covers the back or exposed part of the plate. The time allowed for setting is about two hours, and a little longer in cold or damp weather. When set, refix in the lathe, procure a long curved burnisher, the point bent at right angles, and, with the lathe at full speed, burnish the plate from centre to edge as hard as you can ; this compresses the metal and makes it harder. When the centre of the plate is well burnished, a block of wood may be held up against it with the back head, which will enable the edges to be burnished. The block should then be soaked in water, when the plate will come away. Any plaster sticking in the engraved parts should be removed by soaking the plate and then brushing with a stiff brush. Printing Ink. A good printing ink for engravers on silver is made as follows : — Melt in a small tin pan sufficient tallow to fill an egg cup. When melted, stir in a teaspoon full of pure rouge. Use when cold. To Remove Stains from Prints, Etchings or Engravings. Stains on etchings or engravings are usually a species of ironmould, and may be removed in the following manner : — Pin the engraving upon a board, and then cover with a mixture of common salt and water mixed into a thick paste. It should next be placed in a window where the sun can shine upon it, and left for over an hour, when the stains will be found to have disappeared and the engraving to be APPENDIX. 125 altogether improved. Then the print is carefully washed in clean cold water, and after being thoroughly dried is placed between sheets of smooth paper and pressed. Paste for Sticking Paper Patterns to Metal for Saw Piercing. Take 3 parts of sugar of lead, 3 parts of alum, 5 parts of gum arabic, and 16 parts of good wheat flour. Dissolve the gum arabic in 2 quarts of warm water, and, when cold, stir in the wheat flour ; then add the sugar of lead and alum, which must have been previously dissolved in water ; heat the prepara- tion until it is just on the boil, and then let it cool, when it will be ready for use. Rouge Paper. This is a blue paper, having a surface of rouge on one side, and is prepared in a similar manner to sand- paper, emery cloth, etc. This paper is very useful for erasing and polishing, and can be had in different degrees of fineness. Chasers’ Cement. A good cement for holding all kinds of chasing or repousse work is made as follows : — 7 lbs. soft pitch, 4 lbs. black resin, 6 ozs. tallow, 6 lbs. powdered Bath brick or plaster of Paris. Melt the resin, pitch and tallow in an iron gallipot over a slow fire, so that it will not burn, and, when melted, stir in the Bath brick or plaster of Paris. The proper degree of hardness is regulated by the amount of tallow. 126 PRACTICAL ENGRAVING. A Method of Printing. When two or three spoons have to be engraved with the same design, they may be printed in the following manner : — Having cut the pattern upon one' of them, ink it in as usual, clean off the surplus ink, and then firmly press the engraving against the soft skin in the palm of the hand, when a clear impression of the engraving should be the result. Next press the second spoon handle in turn upon this, keeping it in register with the indentation formed by the handle of the first. Upon removing the spoon a clear im- pression of the original design will be found on the surface of the metal. Smoke Prints. To take a smoke print, hold the article to be printed over the flame of a candle or taper till it is thoroughly blackened with soot on the surface. Now damp a piece of paper, place it carefully on the top of the soot and burnish with care, when the result will be found to be a beautiful clear impression of white lines on a black ground. Cleaning out Engraved Work. All engraved work should have ink or other matter cleaned out of it with turpentine, and then washed in boiling water and soap, afterwards drying in hot box- wood sawdust. INDEX. 12/ INDEX. Acid, Diluting PAGE. . Il6 Acid for Etching . 114 Alfred the Great’s Jewel 12 Ancient Brass Stamp _ II Aquatint 28 Archimedian Drill • 73 Arras, Burr or Barb, to remedy . . . 97, 103 Art of Engraving . . 9 Bag, Sand .... 34 Barb, Arras or Burr, to remedy • 97, 103 Basket-work Pattern • 44 Bath, Etching . 107 Bench, or Table . 39, 94 Bent Gravers 3i, 39 Biting . . 114 Blade, Saw . 77 Border, Greek • 43 Border, Tooth . 42 Borders 42, 43, 49 Brass Chisel • 59 Brass Engraving . 14, 27, 59 Brass Stamp, Ancient 11 Brasses, Memorial 13 Bridge, Etching . . 112 Brush, Stopping out . 106 Buff, Polishing . 82 Bull’s-eye Lenses . 122 Burnisher • 3i, 105 Burr, Arras or Barb, to remedy • 97, 103 PAGE. Card Tray, Design for . 45 Carved Monograms 74, 83, 87 Carving ... 70, 81 Carving Crests . . .86 Carving Monograms . 82, 86 Carving Tool ... 70 Cement, Chasers . . . 125 Chaser’s Cement . . . 125 Chasing . . . . 70 Chisel for Brass ... 59 Chuck, Patent . . . 119 Clamps . 93, 117, 118, 119 Cleaning Copper-plates . 123 Cleaning Out Engraved Work .... 126 Clock Case ... 2, 90 Coats of Arms . . 70 Coin Clamp . . . .119 Colours, Heraldic . 62, 63, 65 Condensers . . . 121, 122 Copper-plate Engraving 14, 26, 99 Copper-plate Etching . . 109 Copper-plate Press . .111 Correcting Mistakes . . 56 Crests . . . 61, 70, 74 Cutting an Inscription . 57 Cutting Stencils ... 99 Cutting with Scollopers . 37 Cyphers .... 61 Cyphers, Wired ... 86 Dabber . . .41, 108 Dahlia Border ... 49 128 PRACTICAL ENGRAVING. PAGE. ] PAGE. Dashing, or Flourishing • 56 Flanging 48 Design, Drawing the . 40, 93, 99 Flat Carving 82 Diluting Acid . Il6 Floral Designs 43 Dividers, Spring . • 35 Flourishing 56 Door-handle, Iron, Etched . 97 Frame, Carved Metal 7 1 Door-plates • 59 Frame, Saw 73 Dots and Lines used in Fret Saw 73 Shading . . 100, 103, IC4 Fret Saw Blades . 77 Dot Tool 33, 4i Furs, Heraldic 63, 65, 66 Drawing 36, 40 Drawing the Design 40, 93, 99 Globe . 121 Drill, Archimedian • 73 Gold Engraving . 29 Dry-point Etching 103, 105 Gravers 29, 3L 1 92 Gravers, Bent 3L 1 39 Early Engravers . • . 14 Gravers, for Steel 92 Egg-shaped Handle • 34 Gravers, Hardening 39 Egyptian Border • 49 Gravers, I+ozenge 3i Egyptian Letters • 53 Gravers, Method of Holding Engraving an Inscription - 57 37, 38, 39 Engraving, Art of 9 Gravers, Sharpening 30 Engraving, Brass . 14, 27, 59 Gravers, Square . 3i Engraving, Copper-plate Gravers, Tired 40 14 99 Engraving, Gold . Engraving, Gun . Engraving, History of Engraving, Mezzotint Engraving, Silver Engraving, Wood Engrossing . Errors . Etching Bath Etching Bridge . Etching, Dry-point Etching, Ground . Etching on Copper Etching on Iron . Etching Point, or Needle 104 Eyeglass Eyeglass Stand . Fern Leaf . Files . 26 1 7, 18, 28 . 29 27, 92 9 • 23 27, 29 26 • 53 56, 1 14 . 107 . 112 • 103 . 107 . 107 97 1 13 Greek Border Ground, Etching Ground, Matt Guide Lines Gun Engraving . 43 . 107 44 55, 60 27, 92 Gun Engraving, Tools for 93, 97 Gun Etching Gun Lock, showing Engra- ving Hammers Handles Hand Vice . Hardening Copper-plates Hardening Graver 35 Heraldic Colours . 62, 63, 36 Heraldic Designs Heraldic Furs ’ 63, 65, 45 Heraldic Names . 62, 65, 74 Heraldry 97 95 82 74 30 107 123 39 108 65 67 61 INDEX. 129 PAGE. History of Engraving . . 9 Holding the Graver, Manner of • 37 Hole Punch • 77 Ink, Printers’ 47, 124 Inlaid Initial • «3 Inlaying . 89 Inscribing and Lettering • 52 Inscription, Cutting an • 56 Inscription, How to En- • grave an . • 57 Introduction 9 Iron, Engraving on . 92 Iron, Etching on • 97 Italic Letters • 53 Jewel, Alfred the Great’s 12 Key Border . • 43 Lettering and Inscribing • 52 Lettering and Inscribing, Styles of . 53 Lines and Dots used in - Shading . . too, 103, 104 Lozenge Graver . • 3i Matt Ground 44, 97 Matting Punch • 44 Memorial Brasses *3, 15 Mezzotint Engraving . • 23 Mistakes, Correcting . • 56 Monograms . 61, 69, 74, 75, 79, 83, 87 Mop, Polishing . : 82 Needle Files • 74 Niello .... 19, 21 Niello, Panel in . • 19 Oil Rubber . . 100 Oilstone 30 Old English • 53 PAGE. Panel in Niello ... 19 Paste for sticking Paper to Metal .... 125 Patent Chuck . . .119 Piercing . . 70, 73, 81 Piercing Board, Detail of . 78 Point, Etching . . 104, 113 Points, or Locations, of Shield .... 62 Polishing ... 82, 89 Polishing Mop . . .89 Preparing Metal for Draw- ing upon .... 41 Press, Copper-plate . . 111 Printers’ Ink . . 47, 124 Printing, Engraving for 17, 18, 28 Prints, Method of taking 47, 126 Punch, Hole ... 77 Punch, Matting . . 44, 97 Raised Carving ... 82 Reversing . . . 48, 99 Ring Stick .... 120 Roman Letters ... -53 Rouge Paper . . 125 Rust, to Prevent ... 98 Salver, Design fc Sand-bag Saw Blades . Saw Frame . Saw Piercing Saw Shapes Scolloper Scolloper. Cuttiir Scraper Screen Scriber Script . Scroll Border Sealing-wax for Shading Shapes, Saw 45 34 >7 / • 73 • 73 • 77 3L 33 with . 37 • 31, 105 . 12 1 3i • 53 • 49 »oor-plates 60 . 100 • 77 130 PRACTICAL ENGRAVING. PAGE. Sharpening Graver, Method of ... • 30 Shield, Points or Locations of ... 62 Silver Engraving 14, 27, 29 Smoke Prints . 1 26 Spotter, or Dot Tool . 33, 4i Spring Dividers . 35 Square Graver 3i Stains, to Remove . 124 Stamp, Ancient Brass . 11 Steel, Graver for . • 92 Stencils 99, 105 Stick, Ring . . 120 Stitch Tool . ■ 38 Stopping-out . 114 Stopping-out Brush . 106 Styles of Lettering • 53 Table . . . 39, 94 Table, Heating . Tempering Gravers PAGE. . 108 • 39 Threader • • 38 Tired Gravers 40- Tools, to Sharpen . 30 Tooth Border . 42 Tracing . Ill Tudor Lettering . • 53 Twist Border 42, 49‘ Using the Graver • 37 Vice, Hand . . 107 Wax, Sealing, for Door- plates • 59 Wired Cyphers . . 86 Wood Engraving 26 Wooden Clamp . • 93 Wriggling . . 42 SOME PRESS OPINIONS OF THE FIRST EDITION OF Practical Engraving on Metal. The Horological Journal. “A really excellent manual It can be strongly recommended to all desirous of being initiated into the engraver’s art.” The Model Engineer. “ This is a well-printed and handy volume on the general subject of metal engraving, written by a practical man for the purpose of instructing the amateur in the art.” Hobbies. “A very neat and useful little half-crown handbook by Mr. G. A. Banner, who has drawn upon a large store of practical experience in the art.” East Cumberland News. “ The introductory history of this delightful art is well done, and the instruction in its various departments is not only clear and adequate, but is illustrated by exquisite examples. We congratulate Mr. Banner on having pro- duced a valuable treatise, the succinctness of which is one of its good qualities.” Useful Arts and Handicrafts. “ A good deal of useful information is compressed into a conveniently small book.” The Watchmaker and Jeweller. “As a book for the novice Mr. Banner’s work is a good one.” Advertisements. Ifletal Engravers’ Cools. Comprising- GRAVERS, SCRAPERS, BURNISHERS, ETCHING POINTS, CHIPPING CHISELS, ROULETTES, KNURLS, PIERCING SAWS, &c., &c. Routing, Trimming, and Engraving Machines for all Metals. Above will be found in immense variety amongst our stock. Also Chemicals, Varnishes, Etching Grounds, Zinc, Copper, Brass, Alu- minium, Steel (ready for^use and cut to size if required). CA TA LOG UES ON APPLICA 770V. PENROSE & Co., 109, FARRINGDON ROAD, LONDON, EI.O. AMATEUR REPOUSSE WORK- For TOOLS, MATERIALS, and FINISHING, apply to 16, Xiong Sere, . . ICondon, VP.W GAWTHORP, Art Metal Worker to H.M. the KING. Fifth Series of Designs, post free, 1/7. Third Edition of Manual, ,, 1/1 Price Lists, Impressions of Tools, Post Free. <3. T. O U9, TJsattstow Stmt, Tywxm$ham, GENERAL HERALDIC ENGRAVER, DESIGNER & SAWPIERCER, All kinds of Inscriptions, Crests, Monograms, Views, etc., for Presentation Plates, Cups, Watches, Medals, etc. Also SEAL CUTTING AND CARVING. Best Workmanship Guaranteed at Moderate Prices. e/SX PLEASE NOTE THE ADDRESS. Advertisements. Second Edition. Crown 8vo , cloth. Price 5s. Postage 4d. Photo-Mechanical Processes : A Practical Guide to Photo= Zincography, Photo = Lithography, and Collotype. 13 v w. nr. Wilkinson. CONTENTS. — Part I. The Negative for Photo-Zincography in Line and Half-Tone, and Photo-Lithography in Line. — Part II. Photo- Zincography in Line. — Part III. Photo-Zincography in Half-Tone. Part IV. Photo-Lithography in Line. —Part V. Collotype, — Part VI. Trichromatic Photography. — Appendix. Hints on all the latest Photo- Process Methods, Second Edition. Crown 8vo, cloth. Price 2s. 6d. Postage 2>£d, Photographic Reproduction Processes : A Practical Treatise of the Photo= Impressions with = out Silver Salts. by p. e. DUeHoeHois. Edited with additional matter, by E. J. Wall, Author of “The Dictionary of Photography.” In this work the fullest details are given, and the clearest instruction o and hints for practical working. CONTENTS. — The Designs (How to Make Negative Drawings for the Processes, giving Positive Impressions from Negative Cliches) ; Choice of the Paper ; Sizing with Arrowroot and Gelatine. The Cyanotype, or Blue Process. The Cyanofer. The Black, or Ink Process. The Cuprotype and Uranium Black Process. The Aniline Process. The Primuline, or Diazotype Process. Feer Process — Printing on Wood, Canvas, Opal, and Glass ; Transparencies. Tracing Process on Metal. Graphotypy. The Uranotype. The Platinotype. Artigue’s Process. The Carbon Process. The Powder Process. Various Processes by Burnett, Obernetter, Liesegang, &c. WRITE FOR CATALOGUE. London : HAMPTON & Co., 12 & 13, Cursitor Street, E.C. Advertisements. Third Edition. Crown 8vo , cloth. With Illustrations. Price Is. Postage 2d. Lighting in Photographic Studios : by p. e. mJeHoeHois. Revised and Enlarged by W. Ethelbert Henry, C.E, CONTENTS. — General Principles to be Observed in Making Portraits. The Lighting. Different Modes of Distributing the Light. Rules and Effects of Lighting. The Studio. Backgrounds. Lighting the Model. Treatment of the Eyes. Development in Relation to Lighting. The use of Orthochromatic Plates in Portraiture. Formulae for Lighting. Portraiture for Amateurs. Home Por- traiture at Night. Third Edition. Demy 8vo, cloth, gilt. Illustrated. Price 2s. 6d. Postage 4^d. The Optical Lantern : For Instruction and Amusement. By Andrew Pringle, F.R.M.S., F.R.P.S., etc. Author of “Practical Photo-Micrography,” “Lantern Slides by Photographic Methods,” and Joint-Author of “Processes of Puie Photography.” CONTENTS. — General System. The Condenser. The Projecting Lens. The Lantern Body. Double and Triple Lanterns. Dis solving Views, Effects, &c. Illuminants (Oil, Incandescent Gas, Acetylene, Limelight). Jets, Accessories, Saturators, &c. Prepara- tion of Oxygen and Hydrogen, and Storage in Bags. Storage of Gases in Cylinders. Regulators. Gauges. The Electric Light. Screens and Frames. Supports, Slide Carriers, Reading Lamps, Signals. Lanterns and Arrangements for Experiments. Animated Photography and Projection. Practical Working of the Lantern, Oil Lamps, Blow-Through and Mixing Jets. Preparation for Lecture. Management of Lantern during Lecture. Deportment on the Platform. Arrangements for the Lantern in a Lecture-room. Enlarging with the Optical Lantern. Table for Enlargements. Memoranda for a Lantern Display. New Oxygen Generators. New Lanterns. The Radiant Limelight Tet. WRITE FOR CATALOGUE. London : HAMPTON & Co., 12 & 13, Cursitor Street, E.C. Advertisements. ^ “^Sanderson” ^£and @ amera , 1902. PERFECT for every class of work at home or abroad. . . . A combined Hand and Stand Camera. — — LIGHT & COMPACT — — LONG EXTENSION for Telephoto Work and copying same size. ENORMOUS RISE with OPTIONAL SWING FRONT lor taking High Objects at close range. The Cameras are fitted with . . DALLMEYER STIGMATIC, GOERZ AN ASTI GM AT, BECK-STEIN H El L, COOKE, and Telephoto Lenses. BOOKLET, POST FREE. Geo. Houghton & Son, 88 & 89, HIGH HOLBORN, W.C The great beaut}- of the instrument lies in the fact that a more simple Camera to use could not be constructed, yet its reserve adjustments embrace a range of movements never before embodied in a single instrument, and make it capable of executing work of the most extreme character. GETTY CENTER LIBRARY 3 3125 00139 4226